Research Catalogue

Guro Kristin Gjøsdal, A/R/Tography in Theory and Practice in Higher Education - Stockholm University of the Arts 2023/2024. The exposition ripples around an interview with Christine Yanco Helland (OsloMet), which is exploring and articulating how she carry out her entangled practice as artist/researcher/teacher. The presentation uses relevant literature to think with. Christine Yangco Helland is an educated drama teacher, director, and dramaturg, with a master’s degree in fine arts with specialisation in theatre from the University of Agder, Norway. Helland has a burning commitment to diversity and inclusion. In addition to working with professional productions, Helland is motivated by involving children and young people, non-professional, and marginalised groups. The exhibition and the interview uses rhizomatic thinking. And so does my own work and production within the methodology and thematics. A/R/Tography is a hybrid research methodology that emphasizes the three positions Artist (A), Researcher (R) and Teacher (T), and how these can be combined. The concepts hybrid methodology means that A/R/Tography is both a way of doing research throug/with one's own arts teaching practice, and a way of teaching through an artistic and explorative approach. This task was completed in autumn 2023.

1º objeto: dispositivo para facilitar o ver e o sentir. 2º objeto: portal (ponte entre a cidade de Kuldiga e a floresta)

VESTÍGIOS SOLTOS – PERFORMANCE Helsínquia, Finlândia

This artistic research exposition unfolds the shared work between Australian composer Liza Lim and Swedish violinist Karin Hellqvist, from the viewpoint of Hellqvist as performer and co-creator. Together, the artists have created the violin solo work One and the Other (Speculative Polskas for Karin) (2021–22). The Swedish folk music tradition that Hellqvist has carried with her since her childhood, and especially the polska dance, serves as their point of departure. This tradition resides in Hellqvist’s body and performance practice as embodied knowledge – a term introduced by Maurice Merleau-Ponty (1962), and it becomes their main path of research. A central concept in the reflections is the ‘artistic palette’ – a concept created by Hellqvist to conceptualise the skills and abilities used in creative work. Hellqvist’s embodied knowledge connected to the tradition is woven into the work through explorations of elements as the specific pulse of the polska and its ornamentation. Furthermore, those embodied skills are explored as decoupled in the third movement, capturing indeterminate aspects. The main question addressed is how the embodied knowledge of Hellqvist’s artistic palette serves as resource and inspiration in the shared process and how it affects the ontology of One and the Other (Speculative Polskas for Karin). Topics of distributed creativity, shared work as mycelial structure, instrument-building, ownership, and temporal ecology are being unpacked in the light of the artistic palette. The artistic research exposition unfolds a compositional process whereby the performer is participating actively, thus problematising the view of where creativity may be located in compositional work. It comprises written reflections, audio examples, pictures, and video material from the creative process as well as a video of the whole work. The research context comprises historical and aesthetic perspectives, as well as recent research on performer creativity and embodiment. Download Accessible PDF

Ars Memoriae, The Art to Remember analyzes the role of art within the larger history and evolution of external memory devices. It looks at material traces of remembering and the invention of an ever-changing body of language expressions, like signs and symbols, to enhance communication capabilities. I followed the process of externalizing emotions, knowledge, and information, starting in the Palaeolithic Stone Age about 3 million years ago, until, in a speculative future, it will be internalized again using artificial wetware, neuro-computers, and DNA coding. > Click on the image to download the PDF.

Why I paint Thousands of Circles explores psychological barriers and multilayered themes that stem from a single horrific event that involved Moran’s father and his brother. The artist collates information, photos and constructs an ar(t)chaeological archive where family photos, product imagery, together with newspaper clips to form units of a historical and psychological mind map. The exposition becomes an auto-ethnographical exploration of mid 90's working class North West London. The repetitive painting process, exposed and documented in the exposition, functions as transformative method, where ambiguous feelings of a violent upbringing are directed towards the creation of a visual system with an inherent logic – “creating some kind of beauty out of ugliness.”